53 pages • 1 hour read
Yomi AdegokeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Fed up with Ola’s lack of progress on The List article, Frankie gives the assignment to Kiran and switches Ola to an article about a “plus-size cam girl turned sports bra entrepreneur” (108). Kiran is a serious journalist who volunteers at shelters for women and donates money from her lucrative Patreon. Ola tries to dissuade Kiran from writing about The List, but Kiran responds with a snide retort.
Ola tells Kiran that Michael is on The List, and Ola feels like a “traitor” to women and to Michael. Kiran and Ola debate the discourse around believing women’s accusations on the topic of sexual harassment and sexual assault. When Ola wrote her viral article titled “MCsToo”, she believed the women involved, but now, she does not know if she believes the accusations against Michael. Kiran agrees to delay the article, stating that although she does not “trust cis men,” she does have faith in Ola.
Beth (the head of human resources) and CuRated know that Michael is on The List. Before hiring Michael, they did a DBS (disclosure and barring service) check. Michael has no criminal record, and no one has a restraining order against him. Yet despite these details, CuRated is in a fraught position. They do not want to fire their sole Black employee, nor do they want to retain an alleged abuser. CuRated compromises by putting Michael on “temporary leave.” Beth offers “support” and acknowledges that “nutters” tend to populate the internet.
At home, Michael messages his three friends from university—Amani, Seun, and Kwabz—with whom he previously created the podcast Caught Slippin. Now, Amani does not think that Michael belongs on the list, and he claims that the person timed their accusation against the artist Papi Danks to coincide with his new mixtape. Kwabz is Michael’s best friend. He messages Michael separately, wanting to know if there is any truth to the allegations. Michael says that there isn’t, and they both agree that Jackie must be the one who put Michael on The List. Despite Kwabz’s support, Michael is severely upset, and he wishes that he didn’t exist.
Ola and Michael had been together informally for around six months when Jackie and Michael first started messaging each other. Michael thought that Ola liked him for who he could be, but he felt as though Jackie liked him for who he actually was. She sent him sexual pictures, and he invited her to a live taping of Caught Slippin. Afterward, they had sex. Ola found out about the affair, and Jackie and Michael stopped seeing each other, but then they started messaging again. Jackie planned to leave her boyfriend for Michael, and she arrived uninvited to another Caught Slippin show. Michel avoided her, and Jackie sent him a WhatsApp message that was the length of an “essay” and issued violent threats.
Luke does not find any “incriminating evidence” on Michael, but he discovers that Rhian Mcintosh, the deputy political editor at The Observer, created The List. Ola meets with Rhian at a women-only club called Venus, the tagline of which reads, “Venus: A home for the home girls” (147). Ola is the only “non-white woman” there, and Rhian realizes that Ola wants to talk about Michael and is not interested in interviewing her for Womxxxn. Rhian cannot tell Ola who put Michael on The List. Rhian mentions Ola’s “MCsToo” article, which makes Ola feel like a hypocrite.
In 2017, Rhian was in Washington, DC, to cover the first year of Donald Trump’s presidency when she began receiving lists of predatory men. At the time, Rhian was in an abusive relationship with a journalist. When another woman created a post in a Facebook group displaying bruises inflicted by the journalist, Rhian made a spreadsheet for women in England. She sent it to nine people, and they sent it to others, after which the spread of The List became “harder to control.”
Now, Rhian acknowledges Ola’s pain, but she does not think that Ola’s concerns take priority over the pain of survivors. Rhian believes that the majority of the allegations on The List are true. Ola ridicules the “court of Twitter” and reminds Rhian that women do not always tell the truth, using Emmett Till and the Scottsboro Boys as examples. After Ola leaves, she receives a text from a blocked number—presumably, Rhian’s—telling her that the person who submitted Michael’s name to The List had the username @mirrorissa92.
Michael ignores his mother’s calls and texts and focuses instead on All Tea, No Crumpet—England’s largest forum for Black gossip. The commenters discuss Michael and note when influencers and minor celebrities follow and unfollow him.
Wearing an unwashed shirt and looking tired, Michael visits Ola at her flat. She tells him that Womxxxn will not publish an article on The List in the immediate future. Michael hopes that they never publish it, and Ola wonders if Michael means that Womxxxn should not warn women about predators. Ola and Michael confess that they do not know how to talk about The List, and Michael remembers that he and his friends often made fun of feminist discourse in the past. Michael wonders what will happen next, but Ola doesn’t know. They depart, and Michael looks at All Tea and connects @mirrorissa92 to the comedy-drama Insecure and its creator and star, Issa Rae. Michael gives one of @mirrorissa92’s comments a thumbs down before sending them a message stating, “I know who you are” (179).
Guilty over her continuing connection to Michael, Ola “corners” Kiran and asks to go with her when she volunteers at a shelter for women. Ola also donates to a plethora of GoFundMe causes for women. At a panel moderated by Kiran, Kiran calls Ola a “feminist fembot.” Meanwhile, Nour El Masri, a university student and aspiring journalist, tells Ola and Kiran that the sports journalist Matthew Plummer kissed her and sent her a picture of his penis when she was a minor. Nour thinks that Plummer might have preyed on fewer girls if she had spoken up. Kiran tells Nour not to blame herself, and Ola blames herself for perpetuating the sexual abuse problems within the media and entertainment industries.
Michael picks up his grandmother from the airport, and they go to the yellow-brick house of his parents. Michael’s father watches CNN and is not communicative. When Michael was growing up, his father worked during the day and stayed out at night. Now, Michael doesn’t want to be like his father; he doesn’t want to make his future wife feel alone. Michael’s mother chides him for not replying to his texts and calls. She thinks that Michael looks unwell and wonders if everything is fine between Michael and Ola. Michael reassures her but says that they’re both busy with work. Michael’s mother thinks that Ola’s work consists of writing about sex toys. She wishes that Ola and Michael would give her grandchildren.
Michael recalls the “experimental” sex that he and Ola sometimes had and reflects that people could now use it as evidence of his problematic character. He also reflects on Jackie. Whether Michael and Ola were in an “official” relationship at the time is arguable, but Michael lied to Ola when he claimed that he wasn’t romantically involved with anyone else. After Michael ended his relationship with Jackie, she bombarded Michael and Kwabz with messages, and she sent threats and pictures. Michael promised never to contact Jackie again, but one year later, after he lost his job, he and Jackie started sending each other sexual messages and images, even though they didn’t have physical sex.
In this section, the tagline for the all-women workspace Venus furthers the satirical aspects of the novel. By using language commonly associated with Black culture, Venus claims to be a “home for the home girls” (147), but as the narrative soon reveals, “[e]xcept for a waitress […] Ola was the only non-white woman in there” (149). The tagline therefore clashes with Ola’s experience and ridicules Venus’s shortcomings, making it clear that the space does not provide a home for “home girls” but for white women. By including the description of the Black waitress, the author also suggests that Venus maintains a racist hierarchy, with the Black waitress serving the white women who dominate the space. In this way, the author critiques the phenomenon of a presumably progressive space that turns into an emblem of problematic norms.
These satirical elements imbue the novel with a humorous tone, and the dialogue adds additional moments of comedy, as when Kiran refers to Ola as a “feminist fembot trying so hard to do and say the right thing that she looks like she might short-circuit” (186). The witty putdown turns Ola into a robot and alludes to the criticism that contemporary activism often repeats catchy slogans without much thought about what the words mean or how they could be put into practice. The author’s brand of humor extends beyond work-related dynamics to include the more personal setting of Michael’s family home, as his mother’s comments contribute to the novel’s comedic dialogue when she reduces Ola’s job to “writing about toy penises” (206). In the eyes of Michael’s mother, Ola is not a serious activist or journalist but a frivolous content creator for sex objects, and the disparity between this misconception and the reality also highlights the stark differences in perception that separate different generations.
As the full details of Michael’s past activities are revealed, the author creates several parallel situations that emphasize the Blurred Boundaries Between Personal Lives, Work, and Activism, and to this end, Rhian’s relationship with the journalist and Michael’s relationship with Jackie serve as prime examples. Rhian’s career led to a romantic connection with an abusive journalist, and this traumatic experience led her to create The List and style herself as a champion of women and activist, thus blurring the line between her personal experiences and her public persona and developing career. Similarly, Michael’s relationship with Jackie is inseparable from his work; her attendance at a live Caught Slippin show led to a romantic relationship, and this development in turn rendered Michael vulnerable to the feminist activism that fuels the perpetuation of The List.
The novel also maintains a focus on broader social issues, and this is clear as Ola’s actions advance the theme of Justice and the #MeToo Movement. For example, when she asks Rhian if she would be “okay with other crimes being handled via the court of Twitter,” Rhian replies, “[T]hese crimes should be dealt with in the first place” (159). Ola implies that Twitter is not a suitable substitute for a traditional court of law, but Rhian suggests that standard symbols of justice, like courts, have failed women. In this particular scene, the author uses these two characters to voice both sides of a real-life debate that continues to play out in various ways. Thus, her novel is intended to act as a social critique in addition to providing straightforward entertainment, and she implies that the insufficient or nonexistent response to sexual assault over the years created a vacuum that led to the #MeToo movement and the creation of real-life documents similar to The List.
With these dynamics at work, it is clear that The Real-World Impact of Online Activity continues to influence the lives of the characters. As people on the internet keep posting negative comments about Michael, the quality of Michael’s reality steadily deteriorates, and his offline world comes to mirror his online world. As the narrative states, “Everything about him looked worn and crinkled: his sneakers, his uncharacteristically dry skin, grayish and ashen” (171). This pointed physical description is designed to imply that the storm of negative online activity is having tangible effects in the real world; because the internet is entwined with Michael’s reality, his tarnished digital persona leads to his physical deterioration in real life. Thus, because the lives of both protagonists are so deeply entwined with their online personas, neither the physical world nor the online world has a monopoly on reality. In the story, the two entities combine in insidious ways to demolish and recreate the characters’ world.
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